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Copyright,  1896 

By  ROBERT  HOWARD  RUSSELL 


PRINTED  IN  THE  UNITED  STATES 


INTRODUCTION 


7TIITHIN  the  past  few  years  the  word  Poster  has  been 
growing  in  significance,  until  now  we  look  upon  it  as 
describing  a decoration,  thoroughly  fin  de  siecle,  and  perhaps 
pleasing* 

A poster  should  tell  its  story  at  once — a design  that 
needs  study  is  not  a poster,  no  matter  how  well  it  is  executed. 

A poster  has  to  play  to  the  public  over  the  variety 
stage,  so  to  speak — to  come  on  with  a personality  of  its 
own  and  to  remain  but  a few  moments.  We  are  a bit 
tired  of  the  very  serious  nowadays,  and  a little  frivolity 
is  refreshing ; and  yet  frivolity  to  be  successful  must  be  most 
thoroughly  studied.  I think  it  was  one  of  the  Beggarstaff 
Brothers  who  said : u Our  designs  may  not  look  as  if  much 
time  was  spent  upon  them,  but  I can  assure  you  that  it  has 
taken  all  the  artistic  knowledge  we  possess  to  bring  them 
to  the  simple  state  in  which  you  see  them.” 

Some  posters,  consisting  of  but  a few  lines  and  containing 
but  a few  broad  masses  of  color,  require  a dozen  draw- 
ings before  simplicity  and  harmony  of  color  are  obtained. 


A poster,  to  be  effective,  must  have  the  same  qualities 
that  a good  painting  possesses — color,  simplicity  and  composi- 
tion— but  must  be  expressed  in  a different  manner. 

The  strong  appeal  that  the  modern  poster  has  made  to 
our  sense  of  color  and  composition  has  brought  to  light  the 
poster  collector,  and  it  is  for  him  that  this  little  book  has 
been  prepared.  Some  of  the  best  examples  of  the  work  of 
masters  of  the  poster-art  in  France,  England,  Germany 
and  America  are  presented,  and  to  them  are  added  numerous 
designs  by  men  of  more  or  less  ability. 

Besides  the  posters,  there  is  the  most  complete  set  of 
portraits  of  poster  designers  that  has  yet  appeared. 

EDWARD  PENFIELD. 


foreword. 


77IITH  the  surprising  growth  of  the  appreciation,  the 
designing  and  the  collecting  of  artistic  posters  there 
has  naturally  arisen  a need  for  some  handy  volume  that 
shall  furnish  the  amateur  with  an  instructive  pictorial  survey 
of  the  field  of  posterdom. 

It  is  to  fill  this  need  that  the  present  volume  is  designed* 

Especially  useful  are  the  following  pages  in  showing  the 
progress  made  in  American  art  in  this  sort,  and  to  it  con- 
trasting the  work  of  the  Frenchmen  and  Englishmen  similarly 
engaged.  Interesting,  too,  are  the  portraits  of  some  of  the 
artists  themselves,  a very  natural  curiosity  attaching  to  the 
personalities  of  men  whose  names  are  constantly  on  the  lips 
of  all  poster  enthusiasts* 

As  for  that  enthusiasm  itself,— art,  we  know,  is  long, 
and  this  especial  branch  promises  to  outlive  the  sneers  of 
those  unable  to  see  the  lasting  qualities  of  everything  that 
makes  for  beauty. 


PERCIVAL  POLLARD* 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/postersinminiatuOOpoll 


E.  A.  ABBEY. 


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AUBREY  BEARDSLEY. 


SKETCHED  BY  HIMSELF. 


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FISHER  UNWIN’S  POSTER. 


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BEGGARSTAFF  BROTHERS. 


MRPERS 

is  tic  largest 
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vF  Posters 

ON  EXHIBITION 
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SKETCH  FOR  A POSTER, 


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THE  ORIGIN  OF  POSTER  ART. 


AN  EXHIBITION  OF 
AMERICAN  POSTERS 
CS  PRATT,  169  6AVE  NY 


^et-1895- 


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KENYON  COX. 


AN  €XHIBinONoE 


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SKETCH  for]  A POSTER. 


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CHARLES  H.  WOODBURY. 


